Fifty Years After His Messy Suicide, Yukio Mishima’s Fiction Is Coming Back To The Fore

“[His] carefully cultivated image — a vigorous martial artist, his commitment to bushido, the code of the samurai and his fixation with masculinity, beauty and glory — has remained more notable than a lot of his writing. He even went to great pains to craft an image for an American audience with English-language interviews in the 1960s. However, the contemporary resurgence of Mishima translations is starting to get readers back to the actual work. Which, incidentally, is very good indeed.” – Metropolis (Japan)

Understanding The Charismatic Leader

David Bell argues that charismatic leaders were a key product of the age of Revolution, which created the ideal political and cultural conditions for a new kind of civic heroism to emerge. It flourished initially in response to the development of print technologies, and the radical Enlightenment’s belief that governments should be founded not on the divine right of kings, but on the principles of secularism and popular sovereignty. It then proliferated with the overthrow of monarchies and the founding of republics, the escalation of warfare on a titanic scale, as well as the cultivation of romantic sensibilities, which encouraged citizens to embrace powerful emotions about their leaders – feelings of admiration, devotion and even love. – Times Literary Supplement

Well, England Didn’t Re-Start Indoor Performances On August 1 After All

“Indoor English venues were scheduled to open on 1 August with social distancing measures in place for audiences and performers – emulating the pilot run performed at The London Palladium last week.” But, with the novel coronavirus raging on, at noon on July 31, Boris Johnson told the nation, “Our assessment is that we should squeeze the brake pedal.” (The sensible Scots are waiting until October to reopen their theatres and concert halls.) – WhatsOnStage

Smart: This Theatre Signed Up For Pandemic Insurance Before The Pandemic

About three-and-a-half years ago, Tim Jennings, the executive director and CEO of the Shaw Festival in Niagara-on-the-Lake, decided to undertake some risk analysis alongside his CFO. He looked at potential problem areas, and at concerns that might arise throughout the course of an ordinary season of theatre, and came to a shrewd conclusion: The festival should take out an insurance policy against the threat of a pandemic. – National Post (Canada)

Obie Award Winner Vinie Burrows Has Been Working In Theatre For More Than Seven Decades

Burrows is an actor, playwright, producer, and activist who started her career as a kid on a radio show. In 1968, she was favorably written about in The New York Times, and she says, “It put me in another tax bracket. I remember being in Algiers at a festival. Why was someone in Algiers talking about me? He knew me because he had read the Times article about me. The Times review can put you in another tax bracket, even today.” – American Theatre

James Murdoch Has Resigned From The News Corporation’s Board

Rupert Murdoch’s son James, who has championed environmental causes and helped force out Bill O’Reilly at Fox after the host’s past with sexual harassment came into the open, “abruptly resigned from the board of his father’s publishing company Friday, signaling an acceleration in family tensions over the tenor and politics of its far-flung media empire. “- Los Angeles Times

The Literary Museums That Made It This Far Are Slowly Reopening

Shakespeare’s birthplace just reopened, and Jane Austen’s house is about to reopen – and some of the changes advantage the visitors coming now. “The cottage where Austen revised, wrote and had published all six of her novels will be offering a far more intimate experience to visitors than before: numbers will be significantly limited, with visitors given time slots.” – The Guardian (UK)

Why Is Netflix’s ‘Most Watched’ List Such A Wasteland?

Whew: “If HBO’s Game of Thrones was the last great piece of TV monoculture, then the pandemic has popularized a series of forgettable productions that each offers a fleeting, miniature facsimile of communal attention. Absent the usual summer blockbusters, and with few prestige shows rolling out new episodes, the landscape of American entertainment is barren enough for C- shows and movies to rack up the viewership of B+ productions, if not the associated enthusiasm.” – The Atlantic